LIVE FREE OR DIE HARD

Written by Hombre Divertido

Live Free or Die Hard; either way it’s fun.

Keep your spider-men, pirates, green ogres, and silver dudes. You can let Evan build the Ark, as long as you let John McClane (Bruce Willis) crash it, cuz he is what summer is all about. No awards to be given here; this film knows its purpose and serves it well. Like visiting a friend you have not seen in far too long, and as simple as heating up a piece of pizza the next morning; this movie satisfies.

Maybe not moving as fast physically, but still able to banter with the best of them, our hero is thrust into the middle of a techno-terrorist conspiracy in which a former government employee (Timothy Olyphant) is taking control of all that is run by computers, from the back of his big rig, in order to steal all of the money in the United States. Oh, and make the point that he is smarter than everyone else of course. Luckily grizzled NYPD Senior Detective John McClane is once again surrounded by bad guys, and one hot martial artist bad girl (Maggie Q.), who couldn’t hit the ground with their guns if they dropped them.

Apparently McClane missed all the computer-training classes offered by the city, because he was too busy playing Pong and waiting for Betamax to come back, thus is reliant on his sidekick in this outing; computer hacker Matt Farrell (Justin Long) who just happened to be an unwitting pawn in the whole evil scheme, and is subsequently being hunted by our bad guys who are trying to tie up loose ends.

Long appears to be channeling a young Keanu Reeves in appearance and performance which serves him well here. Especially when we watch officer McClane escape the aforementioned big rig, as it careens down a collapsing freeway, by jumping on to the tail of an earthbound stalled jet and surfing it to safety in a stunt so ridiculous you’ll believe Sandra Bullock could jump a bus over a gap in the same freeway.

Yes, some of the stunts are way over the top, and the simplicity of escaping peril by crossing a floor covered with broken glass when you’re not wearing shoes has given way to CGI flying cars, but at least there is commitment to giving the audience what it wants. Far more commitment than in the scene where McClane attempts to convey the dark side of heroism to Farrell in a show of emotion by an action hero that will rival Rambo’s monologue at the end of First Blood for worst of all time. At least the powers that be in Stallone's outing made the effort. The audience here was treated to a scene so awkward that it appeared that someone walked in and said: “What are you guys doing? Cut this out and just blow something up!”

If you are hoping for an appearance by Bonnie Bedilia as Mclane’s ex-ex-wife, or Reginald VelJohnson as John's old pal Sgt. Al Powell, no such luck. You will get to meet Lucy McClane, played quite efficiently by Mary Elizabeth Winstead, who is not only her mother's daughter, but more importantly daddy’s little girl, as she manages to not only infuriate her dad, but the head bad guy as well. She shows sequel potential herself as she manages to rumble with and shoot a henchman along the way.

So maybe we are missing a few friends from the past, and some of the scenes and stunts may not always work, but this is popcorn faire at its best and is certainly worthy of its predecessors. Please Bruce; don’t make us wait so long to see John McClane again. He’s a relatable character that works in the right and wrong place all the time.

Recommendation: It’s been far too long since we’ve had this kind, and this much fun at the movies. Stop reading and go now.

1408

Written by Jámon Y. Huevos

Mikael Hafstrom’s 1408 gets to take a seat of honor next to The Shining as the second of two truly great haunted hotel movies to spark from the mind of Stephen King. John Cusack plays Mike Enslin, the author of two books of haunted hotel reviews. Having separated from his wife after the untimely death of their daughter, Enslin would like nothing more than to believe in the afterlife; unfortunately, he’s never seen any proof. That all changes when he spends the night in room 1408 at New York City’s Dolphin Hotel.

John Cusack cannot receive enough accolades for his taut performance of the heart-broken Enslin. Eighty percent of the film is Cusack in a room by himself and he pulls it off in amazing style. It’s Cusack’s own genuine humanity that shines through so many of the characters he portrays, and Enslin comes off as witty, smart, funny, and sad in a rich and multi-dimensional performance. You just want to hang out with this guy; however, you do not want to hang out in room 1408.

Room 1408 is spectacularly haunted. The screenwriters and director refuse to cut the audience apart with cheap thrills. Even when they have something jump out of the shadows, you feel like those moments were earned because of the more subtle terrors filling the screen for most of the movie. The horror starts slow and then builds and builds. Every possibility is loaded into that room, from ghosts and gruesome murders to fire and ice. This is one roller coaster that is ninety percent slow movement up a long hill, ripe with tension and fear, and ten percent gut-wrenching drop. It’s all about timing and special effects, and the editors and artists work some great magic.

There is one sour note in 1408, and it is very sour. Samuel L. Jackson is an empty hole of acting nothingness in the center of this film. 1408 finally proves that unless Jackson is being shot at, he should stay home in bed. Virtually everybody else in the cast is able to hold their own against Cusack’s magnetism. Of special note are Mary McCormack as Enslin’s wife and Jasmine Jessica Anthony as Enslin’s daughter. Jackson, on the other hand, tries to act entirely with his eyebrows and a straight-edge speaking cadence. This makes his performance look like two caffeinated inch worms frolicking atop a single piano note. It’s an interesting visual, but there ain’t nothing there.

1408 does exactly what it sets out to do, send shivers down your spine with an intelligent story. I’m not sure it could have worked without John Cusack in the lead; he is the perfect everyman. That aside, 1408 is a smart psychological drama with some great bumps in the dark.

North Mississippi AllStars: Keep On Marchin'

Written by Fantasma el Rey

I first heard the North Mississippi AllStars when I bought their first album Shake Hands With Shorty out of curiosity. I had seen the CD before and wondered at the band's name and song titles, such as "Po Black Maddie" and "Shake 'Em On Down." I picked up the disc and it's been in my rotation ever since, and deservedly so, because these Southern Kats lay down a mean country/blues boogie that's infectious and new.

The AllStars line-up has not changed from that first album released in 2000. The trio, brothers Luther (guitar/vocals) and Cody Dickinson (drums) and Chris Chew (bass), love what they do, which shows every time they take the stage, from small clubs to large open-air festivals. These gents are house rockers and always leave you wanting more. From the opening chord pick on the cigar-box guitar (Luther plays an actual homemade cigar-box guitar) to the last bass pluck the North Mississippi AllStars give us their all.

The concert DVD, Keep On Marchin', recorded live in Burlington, VT, on 11/11/05, captures the magic that the AllStars posses as a unit, providing two hours of jammin' blues-based rock 'n' roll. Luther plays a stinging, wicked guitar as brother Cody keeps time and beyond, kicking and banging out solid beats that keeps the feets moving. All the while Chew's bass thumps in and around, fattening the sound and adding to the vibe of fun and brotherhood this three-piece band projects.

It doesn't mater how these kats play because it's their passion that gets to you. No matter if they're stompin' out low-down, "mean as hell" blues like "Shake 'Em On Down," "Going Down South" with its hip hop/ blues back beat or slowing the pace down with "Hurry Up Sunshine." They can even play that real rock drive on "Bang Bang Lulu" with the same sounds that delivered early rock 'n' roll to the masses.

And these good ol' boys haven't forgotten their Southern rock heritage either, taking every opportunity to extend a song and jam. "Ship" opens with five minutes of instrumental work before the vocals begin. "Psychedelic Sex Machine" is Cody's chance to shine on the electric washboard (that's right, electric washboard) cutting loose and transforming this old-time jug band instrument into one of the future by bending and extending notes on the Wa-Wa pedal. Chew's bass work comes to the fore here as well, thumping and pulsating fat, "funkdafied" rhythms while Luther moves behind the skins keeping the beat.

What makes the N.M. Allstars stand apart from the rest of the current blues/Southern rockers is their blending of old and new. Their songs are based in the roots and traditions of the South from blues, country, and rockabilly. One can even see traces of Chew's gospel upbringing, and it's easy to see that they've learned well from their father, legendary producer Jim Dickinson. At times adding elements of hip-hop, or as Luther puts it "Dirty Southern Gangsta' Rap," by looping certain voices and instruments to sound like it's being scratched by a DJ gives the music its own spin. The mixing of all these Southern sounds blend very well together and is a testament to the inventiveness and solidarity of this band of brothers.

All in all the North Mississippi AllStars should not be missed whenever they're in your town or near your town. These guys work hard, love what they do, and it show on stage night after night, no matter if it's a club, beer joint, honky tonk, or hole-in-the-wall pub. Go out and support one of the best young solid blues-rocker acts around, and pick up Keep On Marchin' and every CD that they have released.

ABOVE THE LAW

Written by Jámon Y. Huevos

The mid-80s Hong Kong action film, Above the Law, directed by Cory Yuen, begins with a bang – a whole bunch of bangs. Bullets fly, cars crash, feet hit noses. It’s everything one would expect from the genre. However, it’s pretty tough to get into this film, but you’ve got to stick with it if you’re a fan of high-octane action on a dime budget.

Nobody is going to accuse Above the Law of having a deep plot or great acting. In fact, the first twenty minutes are nearly bad enough to knock you out of the film for good. Then four cars attempt to simultaneously hit our star (Yuen Biao) in a parking garage. It’s a great scene with amazing stunts and extremely well placed ramps leading up the backs of the ubiquitous Mitsubishis. These are real stunts, too; the old-fashioned, non-CGI kind that blow your mind. Sure, you sometimes see the ropes and pulleys, but you also see the very real sweat, pained contortions, and smatterings of genuine human blood.

Cynthia Rothrock and Peter Cunningham have great moments in Above the Law. Brought in to help sell the film overseas, both martial arts experts are truly incredible on screen. They have lame dialogue, stupid entrances and exits, bad hairdo’s, but, holy cow, they kick a ton of ass. Cunningham is especially devious as an assassin with the world’s tiniest heart. After killing all the adults in the room, he blows up the leftover children from a distance. Dang, that’s a tough-hearted dude.

Halfway through you will realize there is not going to be a happy ending. In fact, this is the double-downer version of the film. Even the alternate endings don’t add much hope. One alternate ending is even more brutal, and that’s with somebody surviving. Those alternate endings are fun to watch; in fact, the special features are what sold me on Above the Law. It was the long interviews with Yuen Biao, Cynthia Rothrock, and Peter Cunningham that ended up giving the film a bit of much needed depth and placing it squarely in its moment in history.

Above the Law is for Hong Kong cinema fans. Nobody else is going to be won over by this over-the-top presentation. For fans, though, it is a very special treat.

638 WAYS TO KILL CASTRO

Written by Fumo Verde

If you think the "Bay of Pigs" incident was the only attempt to remove Fidel Castro from power, you need to see this documentary. It's a story of how one sovereign nation has tried to take out the leader of another. You may laugh at the title, but it is a sad truth. Since his rise to power in 1959, Castro's enemies have been plotting his demise. They want to free Cuba from his grip, have tried almost everything, and aren't about to stop.

Director Dollan Cannell opens up this world of shadow agents and assassinations, giving us an in-depth look at the many attempts to bring down one of the world’s most loved and hated men of the twentieth century. He presents the stories of the people who schemed and attempted, how and why they tried, and those that foiled the plot.

This has been one of the most informative and clever documentaries I have seen in a while. Conspiracy-mongers, time to freak out because it is all here. Did the C.I.A. take part? Why yes they did, but so did a lot of Cuban Nationals and even friends of Castro. The first culprit was a man who knew Castro when they went to the university together. Enrique Avarez was a close friend of Castro, but he soon realized that the cigar smoke clouded Castor’s true intentions. He says, "Fidel is for Fidel. People say Fidel was a communist; he was nothing. Fidel is a Fidelista, full stop. For him, that's it."

After the revolution, Castro was still walking around unprotected. Avarez bumped into him at a restaurant and thought that his assassination would be an easy thing to do, but couldn't bring himself to do it. That was attempt number one, and it's not even counted in the number of the title.

Cannell takes us on a trip that includes snipers, a poison milkshake, and exploding baseballs. The C.I.A. didn't try to kill Castro at first. They had better ideas, like cutting off Samson’s hair to sap his strength, and putting powder in his boots that would make his beard fall out. I still don't see how that would work, but those were our tax dollars and well, the government knows best, right?

Fabian Escalante has now retired, but in the early '60s he was the head of Cuban Intelligence. He had so many spies throughout Cuba, it was said you could not light up a cigar in Havana without him knowing. He was so good at stopping the plots to kill Castro, Cuban TV made a show out of his escapades.

Other stories come from the Cubans hired by the C.I.A.; these include Antino Veciana, Felix Rodriguez (the man who gave the order to kill Che Guevara in 1967), and Luis Posada Carriles. They tell of attempts they planned and tried to execute (pun intended). Veciana was recruited by the C.I.A. back in the early '60s. He now owns a boating supply store in Miami, but tells of one attempt he put together where he had four men in an apartment room across the way from the Presidential flat where Castro was living. Veciana had gotten the men a bazooka and aimed it right into Castro's room. What happened? The leader of the group told Veciana that they couldn't fire the bazooka without it being seen, so they abandoned the operation. "No one is suicidal," Veciana said. "You need at least a small chance of getting away."

Every plot worth trying was tried, from blowing up his car with a hand grenade to using remote-controlled model planes that would blow up once inside the window of the library where Castro was speaking. My favorite is the one where the C.I.A. gets his ex-girlfriend to try and hide poison pills in a jar of cold cream. When she went to get them out, they had melted. Castro had asked her if she had come back to kill him. She said yes, and she started to cry. He handed her his pistol and told her to do it. She pointed the gun at him and after a minute she put it down. When he asked her why, she said she couldn’t do it. Castro replied, "Nobody can.”

It was right after that failed attempt that D.C. went balls-out to get rid of Castro once and for all. Ike started it, and in the depths of the Miami Zoo, exiles were being trained to land on Cuban shores and take back the island nation from its evil dictator. Thus the "Bay of Pigs" operation was born and executed under Kennedy. Cannell states that Kennedy was one of the Presidents who pushed the C.I.A. the hardest to kill Castro, and as irony would have it, an assassin’s bullet found Kennedy instead.

As plot after plot failed, the hardliners in Miami started going after other targets, members of their own community who wanted to make peace with Castro. One of these hardliners gone awry is Dr. Orlando Bosch, a man who admitted firing a bazooka at a Polish ship headed for Cuba. He was also implicated in the bombing of a Cuban airliner, which killed 73 passengers and crew. C.I.A. documents reveal that days before the bombing an associate of Bosch's was overheard saying, "We're going to hit a Cuban Airplane. Orlando has the details." Bosch was considered to be one of the most dangerous terrorists in the Western hemisphere and was in and out of U.S. and Venezuelan jails. Thirty-one countries refused to take him because of the acts he has committed, yet Pres. George H.W. Bush granted him residency.

Cannell has given a great history lesson with facts and views from both sides of the equation. The war against Castro will never stop. Even at the end of the documentary, we learn of a man who was arrested for owning a stinger missile he was planning on launching at Castro, and the list keeps getting longer. 638 Ways to Kill Castro is entertaining and educational; it also provokes the question concerning who we call terrorists.

The extras include an interview with Ex-President Jimmy Carter, an interview with Ricardo Alarcon, President of the Cuban National Assembly, a look at the 1976 Cubana airline atrocity and Luis Posada Carriles, another terrorist who lives among us, and more.

Rufus Wainwright: Release the Stars

Written by Jámon Y. Huevos

When I first heard Rufus Wainwright’s “Oh What a World” from his amazing Want One, I had to keep playing it over and over again because I couldn’t believe what I was hearing. That song is immediately funny, smart, witty, and, dare I say it, jaunty. All of Want One had me at the edge of my seat. Wainwright has a couple more albums under his belt now, and his latest, the self-produced Release the Stars, is a worthy addition to his work.

There is the immediate fear that Rufus Wainwright producing Rufus Wainwright will be over the top, sentimental, self-conscious, and self-amused. Luckily, each and every song in Release the Stars is able to cavort with the edge without tumbling over. That said, it is easy to hate this CD for the first few rotations. One feels as though there is a single twelve-part song being reeled out here; however, over time, the songs break away from each other to show their own dimensions and sensibilities.

Of special note is the haunting “Leaving for Paris No. 2.” Just piano, bass, and Wainwright’s vocals delivering a letter, no, a sticky note, explaining the title. Simple without being simplistic, the song resonates with deep emotion and thoughtfulness. Every line is a compact gem: “And when I get there, I will lose the ring you gave me.” See? Compact, gemlike. Also, the final track, “Release the Stars,” is a finale in every sense of the word. It sounds as though Wainwright is beginning to gather his Broadway show. I’ll bet he wore high heels and a diamond-studded tiara in the studio while belting out, “Didn’t you know that old Hollywood is over? So why not just release the gates and let them all come out. Remember that without them there would be no Paramount.” It ain’t Sinatra, but it sure is Minnelli, and Wainwright makes it work.

If you are a Rufus Wainwright fan, then you will neither be surprised nor disappointed by Release the Stars. If this is your first contact with the son of the equally fascinating Loudon Wainwright III, you’ll want to quickly get back to the basics with Poses and Want One and Want Two; those CDs are the primers for this new polished work.

Welcome Back, Kotter - The Complete First Season

Written by Hombre Divertido

Long before Jerry Seinfeld and Ray Romano were sought after by the networks to build sitcoms around their material, a stand-up comedian by the name of Gabe Kaplan had great success with a little show called Welcome Back, Kotter (ABC 1975-79).

Based on Kaplan’s material and the characters from his time in high school, Welcome Back, Kotter follows the exploits of Gabe Kotter (Kaplan) a teacher who returns to his alma mater to teach a group underachievers known as the “sweathogs,” of which he was once a member.

Kaplan was surrounded by a group of talented young actors including: Ron Palillo as the class oddball Arnold Horshack, Lawrence-Hilton Jacobs as the class smooth talker Freddie “Boom Boom” Washington, Robert Hegyes as the class tough guy Juan Epstein, and of course, John Travolta as the super-cool leader of the group Vinnie Barbarino. This ensemble had great chemistry and created some quality comedy for its time.

As was common in the seventies the shows have a very theatrical feel due to the way they were filmed and the limited sets consisting of the Kotter's one-room apartment shared by Gabe and his wife Julie (Marcia Strassman), and the classroom at the school. One cannot help but get the feel of watching a play as we are introduced into the world of Buchanan High School. The reoccurring bit of Kaplan closing each show with old school jokes only reinforces that theatrical feel, as his bits are reminiscent of vaudeville.

Though the writing is typical seventies sitcom set-up punch, and the far-fetched scripts establish the characters as a comedy team rather than a teacher and students, it works, especially in season one. In these first twenty-two episodes we get to watch our characters develop and grow, and it makes for very enjoyable viewing. Eventually Travolta’s Barbarino will be the breakout star before we even knew who Fonzie was, and the stories will begin to focus far too much on him. That is not the case in season one, as each character gets the spotlight.

This set is packaged in memory-inducing fashion, but only contains two extras. The first being what has become standard when bringing back shows from the seventies: a short documentary of the show hosted by someone from the cast, in this case Strassman, which often appears thrown together. This effort is not completely worthless as it does contain some interesting facts, but certainly could have been longer and gone into more detail. The second is the original screen tests of the four sweathogs and Strassman. It sounds far more intriguing than it turned out to be, and will most likely be boring to the non-thespian viewers. The unadvertised extra of seeing award winning actor James Woods as a geeky teacher in the first episode makes up for the others.

Recommendation: It’s a must-have for the fans of the show as it remains as much fun to watch now as it was then. For those not familiar with the show, it’s got a young John Travolta, and is a quality sitcom that makes for good watching 30 years later.

Redemption Song: The Ballad of Joe Strummer

Written by Fumo Verde

As the ‘70s became the ‘80s one could hear the faint voice of rock n' roll off in the distance, as disco balls and roller boogies were the new scene. That whisper became a rage breaking through the underground of the London streets: the punks were taking over. Of all the bands to be hatched out of the Punk scene in the late ‘70s/early ‘80s, The Clash had something to say, or to put it better, Joe Strummer had many things to say.

Chris Salewicz was a close friend of Strummer and was asked to write his obituary when he died in December of 2002. Salewicz felt just a couple of paragraphs in a column wouldn’t do, not for a man like his friend Joe, so he presents Joe from the inside, giving you the perspective of a rock icon like no other, because being there counts. Redemption Song: The Ballad of Joe Strummer defines the man many called the front man of the Punk sound, and Salewicz recounts not only what happened but gives you the history of why it happened.

I like how Salewicz starts the book off with the death of Strummer. As he explaines the feelings and emotions that ran through Strummer, he opens up little doors into Strummer's life, such as how his folks met in a hospital during World War II. Anna McKenzie was a nurse and Ron Mellor happened to be a wounded solider. After the war, they married and Ron took a civil job and became a foreign diplomat.

Strummer was the second son, born John Graham Mellor in Ankara, Turkey on August 21, 1952. As a young boy the family never settled down, moving wherever the British Government wanted Ron to go next. They went to places like Egypt and Germany before John was sent off to boarding school in London. Strummer never forgave his parents for leaving him and his older brother David. He also would never forget the day he learned of his brother’s suicide. Salewicz states he tried a few times to have Strummer talk about the death of David, but the conversation never got too far. Some feelings people take to the grave.

Salewicz speaks with some of John Mellor’s old roommates and friends back when he was at the University for Art. Mellor wanted to be a cartoonist before he heard the sound of Woody Guthrie, but then John Mellor became Woody Mellor. He along with Tymon Dogg would roam the London Underground and Woody would strum his ukulele. Salewicz explains how this bright and tough young man became the names he had so chosen, why John became Woody, then from Woody to Joe Strummer. Salewicz describes how Strummer evolved and how he honed his musical forte and writing skills, how The Clash formed, and how the Sex Pistols, along with the whole punk scene, ignited Strummer. The Clash were different. While all the other punk bands from the first wave of British Punk sang about anarchy, Strummer and The Clash sang about left-wing ideas and desires.

Salewicz doesn't candy-coat Strummer's story. He tells you about the booze and the parties, the pain felt when he fired Mick Jones, the co-founder of The Clash. There, and through interviews with Jones and Paul Simonon, Salewicz brings you into the moments that made up this history. Salewicz also opens the windows into Strummer’s personal life. The love he felt for his kids, their mother Gabby, and his wife Lucinda, the woman he loved the most, are key elements that made Joe Strummer the man he was. Plain, simple and opened up for the whole world to see, Salewicz puts Strummer's story on display, showing us that he wasn't just the bad boy lawbreaker he wanted us to believe he was. He had thoughts, ideas, dreams, desires, and most of all fears. Fears picked up from childhood and onward, just like the rest of us, that's who Joe Strummer was. He was many things but average wasn't one of them. He managed to relate the problems, the fears, and the anger felt by the youth of his time against the establishment. Poetically mixing politically charged lyrics with intense well-played music. The Clash became what Punk Rock was meant to be.

The real story of Strummer is in the details and Salewicz hits the nail on the head. If you're the type of person who loves to get into the dark lonely places of other people’s minds, Redemption Song will fill that hunger, especially if you are a big fan of The Clash or the history of music itself. Thank you Chris Salewicz for shedding some light on a tough guy, a loud-mouth, a rebel, and letting us know that he too was one of us, yet he used his talent well and tried to do his part in changing the world for the better.

AMERICAN PASTIME

Written by Fantasma el Rey

American Pastime is set during World War II and is the story of a Japanese American family’s relocation to an internment camp. Revolving around baseball, jazz, and family, it is a good-hearted movie that tells a wonderful tale but at times takes the all-too-beaten path in doing so. An enjoyable film and in some respect one could call some of the themes timeless.

Spanning the years 1941 to 1946 we see how the Namuro family copes with life in Camp Topaz, Utah. Attempting to make the place more than merely livable, they begin to fix the camp by giving it a feel of home. Youngest son Lyle (Aaron Yoo) loves jazz and baseball and aided by the latter was to be the first Namuro to attend college. Then along came Pearl Harbor, bringing Lyle’s dreams to an abrupt end. Lyle grows to hate baseball rejecting his father’s offer to play on a camp team. Instead Lyle starts a swingin’ jazz band and, to help ease his misery, sells booze and gambles.

He also takes interest in Katie (Sarah Drew), the daughter of the camp’s military supervisor (Gary Cole). This of course causes greater tension in the nearby town of Abraham. Lyle finds himself at ends with his father and now with Katie’s pop as well. As if that weren’t enough, rebellious Lyle and his respectful, older brother Lane begin to feud over right and wrong. To ease the tension between town folk and “prisoners,” a climactic baseball game is arranged that pits the local pro team, including Katie’s father, a long time Yankees prospect, against Camp Topaz’s best. Of course, Lyle makes a return to the diamond in this ultimate showdown.

The Romeo and Juliet love story and the effect it has on the two different families is a story we’ve seen before as are the clashes that go on within the two lovers’ families. The squabbling brothers and the squabbling father and son, while the understanding mother tries to hold it together and play peacemaker, are very familiar plotlines as well. Not surprisingly, the game’s final outcome is decided between Lyle and Katie’s father. We’ve seen these formulas enough and I would rather watch a documentary on baseball and the interment camps. Although I can see how it must be told this way in order to reach a wider audience, which allows for some fine performances from Aaron Yoo, Sarah Drew, and Gary Cole.

To his credit Director Desmond Nakano does well in mixing actual vintage footage throughout the film. I do admire the fact that he also includes a scene where camp dissidents try to rally other internees to ask questions. Like why other Americans weren’t put into camps. The Germans and Italians were also enemies of The U.S.. Were they not interred because they were harder to spot, making them less of a target for violence? If that’s the case, then I guess it was for their own protection that the Japanese were locked away and forced on their “trail of tears.”

Overal, American Pastime has accomplished its goal in telling a story about a little know fact of our history and how baseball, that all-American game, played its part by presenting the story in an entertaining way everyone can relate. When I’m in the mood or if it’s on television I will probably watch again, which is the mark of a good movie.

Little White Lie: Honesty

Written by Fumo Verde

If you like music with a little harder edge than you have heard on the radio these days, then Little White Lie might be the band you've been waiting for. Fresh from winning the 2007 Orange County Music Awards for best Hard Rock Artist, Little White Lie brings us their debut album Honesty and once hearing it, one can understand why the Lie won the award. Fierce guitar chords powered up with thumping bass lines and volatile drumbeats give Little White Lie their hard rock stripes and they can wear them with pride. Bring in front woman Jennifer Loe and now you have a band that contains the total package. Her vocal talent blends well with the style of rock the instruments bring to the table.

Loe may be the singer, but don't call the rest of the band her backup. Ben Conroy's drumming is incredible and the power he contains could light up a small town. Add Matt Jones on the bass and the pure brute strength of the band comes alive. Mix in the guitar fury of Jake Boxer with Mike Muenzer’s amazing guitar style, and “Boom,” Little White Lie comes at you like a bat out of hell.

The first song "Eternal Sleep" opens up in your face and doesn't apologize. At first, I thought I had put in an old Iron Maiden CD. Loe has the range to follow and fly with the guitars chords Boxer and Muenzer are taking off with, and I say "taking off" because these two katz fly, into the stratosphere, babies. "Lie and Wait" is a song of sorrow and pain reflected not only by the words, "My eyes filled with tears/ left me blind/ now I feel alone./ Bruised and broken my life/ from chocking down these words/ you say won't go away”, but by the melody itself. The music soars to the highest part of the heavens and grinds you down all the way to the gates of hell, then back again.

Honesty, though it only has six tracks is packed with power and passion, you can hear right from the start. Their music has meaning that comes at you full throttle. It's honest and raw, hence the name of the CD, and it opens up a darker side of the O.C., one beyond punk and pop. Little White Lie is going off and gathering fans as they rock the O.C. music circuit and with the strength of a supernova nothing can stop them. Check them out on their Myspace page or go see them live—however you do it, you won't be disappointed.